I would suggest Tulane Uni in N.O. as a source and also the Library of Congress in Washington D.C. I still have my ""Reader Identification Card'' from the time I visited in 2003 and did some research, so you will have to register yourself with the LoC.

Other than this I would opt for the Johnny Dodds version which he recorded with the King Oliver band in Chicago in 1923 (check out the Redhot Jazz Archive http://www.redhotjazz.com/bands.html for a complete recording). It would certainly be closer to the original than the one by Pete Fountain, I suspect.

I think Mr. Grossens is looking for the famous High Society solo. I transcribed this solo in college (I can't remember whose solo it was, or what recording I got if from, but this is the one, I think) and just dug through my music and found it. If you want it, please e-mail me off-line and I'll scan it and e-mail it to you.

If you are looking for the original Alphonse Picou ''version'' then you need to go to the university or the LoC. The original manuscript is what you require, written by the composer himself.

A transcription, no matter how thorough, of some other player's version, will not necessarily give you the correct sequence of notation - with all due respect to those who have laboured over this piece. Just listen to a few recorded versions, if you will - they are all different - I have at least 20 versions of High Society.

If you E-mail me your street address I will snail mail you a copy of this song that I use. It says on the top, "This is the famous Alphonse Picou Clarinet Solo." Blah blah blah. Yes it's the real deal solo. And it is the very devil to play. It took me lots of time to learn it. So if you want a copy, let me know. And lotsa luck. I have only played it in public once.

There are transcriptions of this and other famous solos in David Littlefield's Dixieland Fakebook series, available in C and Bb versions at www.americanmusiccaravan.com.

I had no idea there was a Picou manuscript, but I am strongly in support of anyone who takes the trouble to straighten out popular pieces which have been subjected to the "folk process". I have no idea how the above source compares to the original.

Better late then never, here's my written out rendition of the High Society Solo as recorded on "Dixie Parade" and as a bonus and preview of more material to come, my transcribed performance of "A Night in Tunisia." Those wishing the audio reference(s) to these charts may contact me for discretionary exchange in formats; disc and/or zipped WMA or MP3.

And, in general response to occasional BBoard inquires for clarinet solo transcriptions of traditional-Dixieland jazz (Lord, knows we have enough Saxophone method books cluttering the cosmos), I am currently drafting a Dixie "Omnibook" of 21 (or so) of my solos from select live and studio sessions. The "greater" purpose of this project is to not only provide style experts and enthusiasts listening enjoyment and a wellspring for musical analysis, but present the serious traditional jazz student a much needed -- listen, play, and learn -- educational resource.

As of now, I'm only eight charts in; when complete I'll likely contact Mark or GBK about donating the files to Woodwind.org for, exclusive posting. I'll make it as easy as I can not copyrighting my intellectual property and engraving all music, as I have done, on my own PC and registered copy of Finale 2006.

GBK's gracious and encouraging remarks are the kind that keeps vain, self-centered musicians such as me in business! My initial posting was not my final narrative, but it appears the POST button had its own idea (hence no attachments ... no bucks no Buck Rogers!) Here are the two teaser charts (in .PDF format) and remaining comments.

I read some recent thread buzz on shortcuts to mastering improv. In my experience, there are never any shortcuts, but there are proven combinations of theory and practical application, adding an unfailing work ethic (not fad diet mentality) that can shorten the learning curve, i.e., "critical listening WITH developing ideal sound concept AND playing it out" is one such method.

The parts are prepared in two ways: 1) Solo only 2) Full part with Solo. For continuity, I opted in a few songs to supplement key melodic soli sections (i.e., shout chorus clar/trpt duet.) Actual pitches should be spot-on however, notation; rhythms and groupings are limited to my skill and knowledge of Finale 2006 ... I'm not a professional engraver. After all parts are completed (and any remote interest is generated) I'll consider going back to select solos and provide a measure-by-measure analysis and structural defense.

GBK's gracious and encouraging remarks are the kind that keeps vain, self-centered musicians such as me in business! My initial posting was not my final narrative, but it appears the POST button had its own idea (hence no attachments ... no bucks no Buck Rogers!) Here are the two teaser charts (in .PDF format) and remaining comments.

I read a recent thread buzz on shortcuts for mastering improvisation. In my experience, there are never any shortcuts, but proven combinations of theory and practical application, that when adding unbridled passion with work ethic can shorten the learning curve. One such method is developing and infusing, "critical listening skills WITH ideal sound concept AND playing it out." Boiled down, you have to at least once take your horn into the shop because you rolled over on top of it while in bed.

The parts are prepared in two ways: 1) Solo only 2) Full part with Solo. For continuity, I opted in a few songs to supplement parts with key melodic soli sections (i.e., shout chorus clar/trpt duet.) Actual pitches should be spot-on however, notation; rhythms and groupings are limited to my skill and knowledge of Finale ... I'm not a professional engraver. Articulations and expressions are as the crow files and best supporting the changes and line flow. For the beginner, please use common sense, it's sloppy jazz not a Bach Chorale; 16th note runs at 1/4=152 are slurred and unless marked, swing until your face falls off.

After all parts are completed (and any remote interest is generated) I'll consider going back to select solos and provide a measure-by-measure structural analysis and defense. Enjoy!

GBK's gracious and encouraging remarks are the kind that keeps vain, self-centered musicians such as me in business! My initial posting was not my final narrative, but it appears the POST button had its own idea (hence no attachments ... no bucks no Buck Rogers!) Here are the two teaser charts (in .PDF format) and remaining comments.

I read a recent thread buzz on shortcuts for mastering improvisation. In my experience, there are never any shortcuts, but proven combinations of theory and practical application, that when applying unbridled passion with work ethic can shorten the learning curve. One such method is developing and infusing, "critical listening skills WITH ideal sound concept AND playing it out."

The parts are prepared in formats: 1) Solo only 2) Full part with Solo. For continuity, I opted supplement some parts with key melodic soli sections (i.e., shout chorus clar/trpt duet.) Disclaimer: actual pitches should be spot-on however, notation; rhythms and groupings are limited to my skill and knowledge of Finale. Articulations and expressions are as the crow files and that most sensibly support the changes and line flow. For the beginner, please use common sense, it's sloppy jazz not a Bach Chorale; unless marked, 16th note runs at 1/4=152 are slurred ... swing until your face falls off.

After all parts are completed (and any interest is generated) I'll consider going back to select solos and provide a measure-by-measure structural analysis and defense. Enjoy!

GBK's gracious and encouraging remarks are the kind that keeps vain, self-centered musicians such as me in business! My initial posting was not my final narrative, but it appears the POST button had its own idea (hence no attachments ... no bucks no Buck Rogers!) Here are two teaser charts (in .PDF format) plus a 3rd (Dippermouth Blues) and remaining comments.

I read a recent thread buzz on shortcuts for mastering improvisation. In my experience, there are never any shortcuts, but proven combinations of theory and practical application, that when applying unbridled passion with work ethic can shorten the learning curve. One such method is developing and infusing, "critical listening skills WITH ideal sound concept AND playing it out."

The parts are prepared in formats: 1) Solo only 2) Full part with Solo. For continuity, I opted to include parts comprising key melodic soli sections (i.e., shout chorus clar/trpt duet.) Disclaimer: actual pitches should be spot-on however, notation; rhythms and groupings are limited to my skill and knowledge of Finale. Articulations and expressions are as the crow files and that most sensibly support the changes and line flow. For the beginner, please use common sense, it's sloppy jazz not a Bach Chorale; unless marked, 16th note runs at 1/4=152 are slurred ... swing until your face falls off.

After all parts are completed (and any interest is generated) I'll consider going back to select solos and provide a measure-by-measure structural analysis and defense. Enjoy!

I fear my answer comes 12 years too late..
But one never knows.
I found a transcription of the High society tune played by Johnny Doods with King Oliver's band in the book : Jazz rythm and improvisation line page 62
I also tried to transcribe this chorus by listening the music under the Amazing slow downer Mac application (maybe it is also usable on Windows machines, I don't know), which allows like is indicated in the application name to slow down any mp3 music file listening without changing the tonality.
I made this trial before finding the book cited above, and I found a very few differences : if somebody had also made a transcription, I should be happy to be able to compare it with my transcription and the book transcription.
For those who are interested in one transcription or the other, send me a mail, I'll answer with adequate joined pdf files.